The exhibition investigates how the domestic environment can become a scene of conflict and violence, rather than the safe place it should be. The series of pieces on view examine the restrictive nature of domesticity and how the domestication of women, linked to the home and motherhood, have constituted powerful tools of patriarchal control.

In one room, visitors are confronted with a work that seems to allude to the familiarity of a wooden floor, but is made of embossed aluminum. The installation Bedrock (2025), displays female figures in an attitude of repose. These figures, carved in a thin sheet of aluminum, invite a contemplation that becomes uncomfortable when reminded of their fragility and apparent delicacy. The precious and fragile aspect of the embossing suggests something to be protected, which amplifies the visitor's dilemma of having to step on it to access the next room.

The act of walking on these figures, however, is not merely physical: it is a symbolic confrontation. The visitor participates in a kind of transgression, since the gesture of stepping on these images is also a metaphor for the weight that society, intentionally or inadvertently, continues to place on women. Thus, the visitor, by accepting this role, becomes a conscious accomplice of a structural oppression that is often buried under routine. The piece reminds us that this problem is neither alien nor isolated, but a systemic element in which we all, directly or indirectly, participate. By walking on this ground, the viewer is pushed to reflect on his or her own role within a society that still limits and subjugates, and is invited to become aware of the shared responsibility in the struggle for equality.

In another room, we encounter Some Days Belong to the Prey (2025), a piece that explores the “paradox of irresistible force”, inspired by the myth of Laelaps and the Teumesian fox. This myth relates the eternal chase between Laelaps, a tame male hunting dog, unable to miss prey, and the Teumesian fox, an untamed female sent to instill terror, who cannot be overtaken. Thus an irresolvable paradox is produced: the hunter and his prey, both endowed with contradictory and absolute natures, are trapped in an endless pursuit.
The work appropriates this narrative as a metaphor for the historical “domestication” of the feminine by the masculine, reflecting the desire for control and possession, a constant tension between strength and freedom, inherent in the patriarchal myths that persist in our culture.
The piece, which curves around the corner, alludes to the circularity of this irresolvable conflict, a dialogue without apparent resolution in which both elements remain suspended, a cycle of control and resistance that is perpetuated in the social structure.

In the other room, Supertask (2025) explores the concept of contradiction that inhabits our bodies, when they are affected by the social expectations of a system that discriminates and homogenizes: as a body that is torn between the identity that is imposed on it and the desire to break free from it. In turn, a struggle against oneself feels like a paradox, you can't win, or you can't lose, and this paradox embodies some of the main conflicts women face: when expectations of passivity and gentleness are pitted against desires for strength and agency.

Finally, the entire exhibition features walls covered with wallpaper. The use of paper in the exhibition will serve to reinforce the concept of the domestic. The concept derives from the story entitled “The Yellow Wallpaper” (1892) by Charlotte Perkins Gilman, considered a seminal work of feminist literature. The story is presented in the form of a diary written by an anonymous woman who probably suffers from postpartum depression. Confined to a room in her home by her doctor husband, she becomes increasingly obsessed with the yellow wallpaper adorning the room until she falls into madness, a fact closely related to her social confinement and lack of autonomy. The narrative addresses key issues related to patriarchal control, the limiting effects of gender roles, and the implications of denying women the management of their own lives.